Something Wicca This Way Comes (Part 1)/Transcript
TEASER FADE IN: 1. INT. SALEM, MASSACHUSETTS, 1692. Establishing shot of Salem in 1692. 2. INT. JAIL CELL - DAY A turnkey opens a cell door in a jail, where a man in a black hooded robe enters to see a young woman in her early 20's Melinda Warren sitting on the floor. HOODED MAN It is time. MELINDA Please I beg you, I mean you no harm. HOODED MAN Too late for that now WITCH. The hooded man pulls Melinda up and starts taking her out of the jail cell. 3. EXT. PRISON COMPOUND YARD - DAY The hooded man sends them on to another man who takes hold of Melinda and drags her toward the pyre. Two young woman similar in age to Melinda both whimper and cry over Melinda. The man pushes Melinda towards toward the large piles of wood. A well dressed man comes forward and looks Melinda in the eye as the crowd waves pitchforks and axes at her in their rage. Melinda returns the man's gaze. MELINDA Unafraid. Magistrate HALE. You may think you have won, but it is not over, there are plenty more of my kind still out there. Hale slaps her across the face roughly, and she falls backyards onto another man. HALE Tell me of the other witches in your coven. You may yet escape the pyre's flames. MELINDA Never. I would rather die. HALE Very well then. Tie her up. They become more frantic as Melinda is tied to the stake. Several people in the mob yell excitedly. HALE You have been found guilty of committing the darkest art, witchcraft. For this affront against God, I hereby condemn you to burn in the fires of Hell Melinda suddenly flashes and sees the future and sees a whole set of images of the future, we cannot make out what it is, but three young woman are seen, most likely future ancestors of Melinda's. ON MELINDA She blinks ending the premonition. Melinda smirks at Hale. Hale nods at the hooded guard who is now holding a lighted torch. The guard holds the flame to different points at the bottom of the pyres, setting the beginning of the bonfire that will destroy the witch. MELINDA You may kill me, but you cannot kill my kind. CUT TO FLASHBACK: Melinda gathered with her coven, and shes discussing a vision she had. MELINDA With each generation, the Warren line will grow stronger and stronger - culminating in the arrival of three sisters. Together, these three sisters will be the most powerful witches the world has ever known. They will be good witches and vanquish all kinds of evil. They will be known as the Charmed Ones. CUT TO PRESENT: Eventually, all we can see is flame as Melinda dies. END OF TEASER ACT 1 FADE IN: 4. INT. SAN FRANCISCO, 2006 - PRESENT DAY Establishing shot of San Francisco and scenery of the city. 5. EXT. HALLIWELL MANOR - FRONT PORCH Three young women are standing outside the manor porch, Prue oldest sister 26, Piper middle sister 23 and Phoebe youngest sister 21. Penny Halliwell the sisters grandmother late 50's/early 60's normally known as Grams is standing in front of them trying to take a photo of them. PHOEBE (Annoyed) I'm fine. Whatever. GRAMS Okay, girls, now if you could just move a little closer, okay? Uh, Phoebe, turn to me, I wanna be able to get your good side. PIPER I don’t think she has one today, Grams. PHOEBE Can we please get this over with? PRUE Why? You got plans? GRAMS Prue, all I’m getting is shoulder. PRUE Anyone that I know? PHOEBE I’m sure lying beneath all that sarcasm there is a point. And if it has anything to do with Roger… PRUE Well, I mean, he said that you called him yesterday. PHOEBE Looking for you. Prue, I’m not gonna defend myself when I didn’t do anything wrong. PRUE Really? PHOEBE Just trying to be nice to the guy considering he’s gonna be part of this family soon. You know, which I’m not even sure I wanna be part of this family. GRAMS The sun is shifting. Could you move down a step please? All three of them do so. PHOEBE And why would I spend my time on a wimp who’s got mother issues? PRUE I don’t know, but why should I believe anything that you say? I mean, you don’t even know what the difference between what belongs to you and what belongs to, oh, let’s say Macy’s. PRUE Alrighty then. Are we done? GRAMS (annoyed) Just a picture. Is it too much for an old lady to ask her granddaughters to retract their claws, stand still and look at me long enough to take one lousy picture? The girls stand on the lawn and pose for the camera. Grams takes the picture. 6. EXT. SAN FRANISCO STREET'S - DAY Piper is seen walking with another young woman, about the same age of Piper, named Mellissa Harrison. Mellissa and Piper have been friends since high school, and she also is close with Prue and Phoebe too. MELLISA Piper how's everything going at home? PIPER Great, except you know. MELLISA Leaving Prue and Phoebe behind? PIPER I haven’t told anyone yet about my application for a semester abroad for Chef training in England. MELLISA You think they won’t support you? PIPER Well Grams supports my dream, but some reason she insists on me staying closer to home. Once I’m gone, then there’s... MELLISA Prue and Phoebe left behind. PIPER I know, but with Prue and Phoebe's constant fighting. I feel like I'm stuck in the middle and also trying to be there for Grams. I mean, Prue's going to move in with Roger and then who’s taking care of Grams and Phoebe’s out of control. What if, what if there’s an emergency? What if something happens? MELLISA I'm sure Prue won’t be far away, and besides you always have me. Plus Grams is a strong a lady, she will be fine. PIPER I just think we all should talk this through so we know what the consequences are. MELLISA Piper, you need to for once not worry about what others may think of you, and follow your dreams. 7. INT. PRUE'S CAR (DRIVING) - DAY Prue at the wheel, lost in though. Then, her cell phone RINGS. she reaches for it, notices the caller ID: ANGEL CELL PHONE Which reads "ROGER" on the display: As Prue picks it up to answer she pulls over on the side of the road. Into the phone: PRUE Hello? ROGER(voice heard from phone) Prue, I'm looking forward to seeing you tonight. But I may be late to pick you up. PRUE Thats fine. I have a few things to do, but I'm looking forward to seeing you. UNKNOWN POV - BACK OF PRUE'S CAR Someone is watching Prue and observing her. Suddenly we begin to see a mysterious hooded figure but from the POV of his back. He is all dressed in black with a black hoddie on. The hooded figure watches Prue end the call to Roger, as Prue then drives off into the distance. This figure turns around and only two visible yellow eyes can be seen glowing. Whatever this person human or supernatural is, walks off into the distance. 8. INT. HALLIWELL MANOR - NIGHT Grams is there making a potion. Piper walks in. PIPER I am going to finish the brownies and don't even try and stop me. GRAMS Well, I'm afraid Prue's beaten you to it. But I've got a back up. What do you say we whip up your favourite double chocolate decadence cake. PIPER Isn't decadence French for 'don't even think about it'? What are you making? GRAMS Oh, just keeping my hands busy. Mellissa called earlier, she told me you were you two had a nice time today. I'm really glad you two girls are still close. PIPER I am too. It's a shame things couldn't work out with other people in our lives, we have known since we were children. GRAMS You mean Andy? PIPER Yes Andy. GRAMS You three girls were always so close with him, but sometimes I wished Prue and Andy made things worked. PIPER Me too. Phoebe walks in and gets a key off of the hook. GRAMS Oh, Phoebe, uh, Piper and I were just thinking of whipping up something we'll regret tomorrow. Care to join us? (Phoebe doesn't answer her.) Where you headed? PHOEBE Out.? She leaves, not even saying goodbye. PIPER On second thought... do you need a hand? (She throws some ingredients in a pot. Grams smiles.) What? GRAMS How do you know what to add? PIPER Well, you needed to balance the mustard seed which can be kind of harsh, and the sea salt brings out the flavour of the, um... Grams... GRAMS Piper, you were born for this, literally. Why do you insist on not following your dreams? PIPER Grams theres something I need... GRAMS (stops her) I know about England. PIPER I can’t abandon my family. Prue’s going to move out and you’re stuck with Phoebe. I'm sorry if I'm disappointing you. Both Grams and Piper hug each-other. GRAMS You could never do that. Piper smiles at Grams and leaves the room. GRAMS (She fills up a small bottle with the potion. She holds it up.) My sweet girls. You're just not ready. I've got to stop you from becoming THE CHARMED ONES... 9. INT. HALLIWELL MANOR ATTIC- NIGHT – 2008, 2 YEARS LATER Grams is flipping through a book using telekinesis, this book is the family's the Book of Shadows, which we will learn more about later. A spirit in the form of PATTY HALLIWELL, Prue, Piper and Phoebe's deceased mother is present in the room, Grams had used a spell to summon her, but we do not see this moment. PATTY Why now, mother? GRAMS We both know why. We're just not willing to say it. PATTY Please don't. GRAMS They are not ready Patty. The girls are so distant they are all living separate lives. I finally managed to get them together, they will be visiting soon. PATTY Mother, but their destiny comes first. Fight harder. Whats stopping you? GRAMS When I die, the girls will receive their powers. I have to stop that from happening. I’ve put this on hold for the past 2 years, and now is the time to act. PATTY But it's their destiny. It's what they're meant to be. GRAMS Who are we to decide that they're meant to be witches? PATTY Who are we to decide that they're not? This isn't your choice to make. GRAMS But the girls are mine to protect. PATTY Have you asked what my sister thinks of your choices or my uncle. GRAMS My brother would respect my decision, he’s mortal. As for your sister, you both know the answer to that one. Patty, they're not ready. Do you really want me to put them directly in harm’s way? Goodnight. She blows out the candle and Patty disappears. She uses telekinesis to open a chest and puts the Book of Shadows in it. She picks up the small bottle. GRAMS It's now or never. 10. INT. TAXI – OUTSIDE AIRPORT IN SAN FRANCISCO – NIGHT Piper gets into a Taxi, she dials a number on her phone. PIPER I’ve landed in San Francisco. I’m so excited to see you and Prue. Have you heard from Phoebe? GRAMS (Voice on Phone) Piper how are you. I’m so glad your back, we have missed you. Prue’s running a little late, but she will be coming. Phoebe has said she’s supposed to be flying in from New York. PIPER Oh Phoebe is just being Phoebe. GRAMS (Voice on Phone) Okay, see you too my darling. 11. INT. HALLIWELL MANOR - FRONT PARLOR - SAME TIME Grams has just ended her call to Piper as well we can see shes holding the same bottle she was seen talking to Patty and the one she made to strip the girls powers, she places it in her pocket. She then walks over to her window and looks outside and notices the thunder begins. Off her look, there’s a strange bag sitting on the windowsill. Grams then notices it, she picks it up. 12. EXT. APARTMENT BUILDING COMPLEX - NIGHT YELLOW EYED MAN takes out a picture of Grams with a symbol written in blood across her face and leans it against the base of a candle stick. He looks around to see if anyone is watching then he chants over the prepared spell. 13. INT. HALLIWELL MANOR - FRONT PARLOR - NIGHT - SAME TIME As YELLOW EYED MAN chants we see Grams looking curiously at a bag from the windowsill, which is a hex bag. Grams bends over in sudden pain. Grams begins to gasp, choke and retch in pain as she collapses to the floor on her side retching in pain. 14. EXT. APARTMENT BUILDING COMPLEX - NIGHT The scene switches to YELLOW EYED MAN picking up his cell phone as it rings with a smile. DISTORTED VOICE ON PHONE Tonight is the night we have waited for months. The Halliwell's are reunited. Piper is back, and Phoebe will be returning. YELLOW EYED MAN hangs up the phone. 15. HALLIWELL MANOR – STAIRCASE TO ATTIC - NIGHT Grams screams out in pain one last time taking her last breath, the bottle falls out of her pocket to the bottom of the stairs. The front door opens up, Piper has just arrived. PIPER Grams? Grams? (Piper begins to cry) End of Act 1 ACT 2 16. MAUSOLEUM – FUNERAL SERVICE – SOMETIME LATER A beautiful ivory-colored coffin sits on a pedestal amongst the flowers. An ivory-dressed, Priest stands before a blue silk covered altar table, which is adorned with a ceremonial chalice. A tied, silver cord lays before the chalice, three lit candles surround it, symbolizing birth, death, and the rebirth. To the unaware mourners, however, the service comes across a part traditional, part New Age. Prue, Piper, Phoebe and various other presumed relatives are seated close to the priest. Piper and Prue dab at their eyes and Phoebe is the most upset and crying. The funeral program, reads: HALLIWELL, 1950-2008; "Forever in our Hearts." PRIEST That which belongs to fellowship and love. That which belongs to the circle, remains with us. The wheel turns. As life is a day, so our sister has passed into night. Nothing is final, and we who remain behind know that one day, we will once again share the bread and wine with our sister. O' blessed spirit, we bid you farewell, for you await a new destiny. he blows out the candles. Mourners standing, shaking hands and crying. Mellissa goes over to Piper and Phoebe to hug them and people begin to pay their respects. Phoebe thanks another mourner, then turns to the last of the mourners, whom she doesn't recognize -- Serena, who shifts over anxiously. SERENA I'm so sorry for your loss. PHOEBE Thank you. (Serena begins to leave.) How did you know Grams? SERENA No. Just… just from around, you know. PHOEBE Have we met before? SERENA I don't think so. Anyway, my condolences. PHOEBE Thank you. (Phoebe shakes Serena's hand -- then Serena looks at her in a very curious way as if she senses something and isn’t letting it on) SERENA (oddly) Have you ever felt like someone keeps telling you that you’re destined for something great. PHOEBE Excuse me? Piper suddenly walks up to Phoebe, interrupting the conversation, and Serena has already walked off. PIPER who was that? PHOEBE Mourner PIPER Come on, where ready to go to the cemetery. 17. EXT. SAN FRANCISCO - NIGHT – THE FOLLOWING NIGHT Gray clouds pass over a full moon. Lighting pierces the sky. Thunder crashes and the rain pelts the city below. 18. EXT. APARTMENT - NIGHT We see (the back of) a MAN. This man has climbed the fire escape and now peers inside. 19. INT. APARTMENT - KITCHEN - NIGHT Serena (the same woman Phoebe meet at the funeral) performs a ritual. She pours herself a glass of wine and feeds her car, who sports an unnusual collar. She does not notice as she leaves the kitchen that the cat, unnerved by the "man", has bolted out its cat door. IN THE LIVING ROOM The power flickers on and off, illuminating a small altar. On this altar as tools of Wiccan ritual: a wand, candles, a bell, censer, and a ceremonial knife. SERENA "Ancient one of the forest, deep, Master of the moon and sun. I shield you in the anicent way, here in my circle round. Asking you protect this space, and offer your sunforce down." The MAN steps into FRAME behind the woman. Sensing another presence, she spins around. Her initial fear fades to recognition --- she knows this person. SERENA (Cont'd) (pleasantly surprise) What are you doing here? She rises to face him. MAN (laughs) Stupid witch, the time is almost here, and you won't be able to help them. Without warning, a knife, its handle covered in ornate stones, is raised in response. The woman's surprise turns to confusion. Before she can respond, the knife plunges downward. Her SCREAMS are drowned out by THUNDER. 20. EXT. HALLIWELL MANOR - NIGHT Piper Halliwell carrying groceries, rushes up the stairs. She suddenly receives a call from Mellissa. 21. INT. HALLIWELL MANOR - MIDDLE PARLOR - NIGHT The power flickers on and off. Prue is on a ladder, attempting to fix a crystal chandelier. PIPER (O.S) Prue? PRUE In here! Working on the chandlier! Piper enters to face Prue, well aware she is very late. PIPER Sorry I'm late. PRUE What else is new? Piper I would have been here to meet the electrician myself but you know I can't leave the museum until six. I didn't even have time to change. PIPER I guess I just didn't realize how long in was in Chinatown. PRUE So how is she doing? PIPER (knows what she is talking about) Melissa is doing okay, her first case was rough. PRUE Being a Lawyer is a whole different ball game than a Retail Manager. Besides she will come in handy one day if we need a lawyer. PIPER (laughs) I think you mean Phoebe will need it the most. PRUE ha-ha very funny. PIPER Did Jeremy call? PRUE No, but he had a package sent and some roses delivered. What were you doing in Chinatown? I thought your interview was in North Beach. PIPER (moves to package, opens it) I did. I went to Young Lee Market after my interview to get ingredients for my "audition" recipe tomorrow. PRUE That Wolfgang Puck knock-off didn't hire you today'? PIPER No, but this may just get me the job. She holds up a bottle of port, sent by Jeremy and shows it to Prue, who has stepped down from the ladder to join her. PRUE Jeremy sent you port? PIPER It is the ultimate ingredient for my recipe. PRUE What a nice boyfriend. . .. Piper smiles, sets down the port. She notices an antique game board known as a Spirit Board, resting on the dining room table. PIPER I don't believe it. Tell me that's not our, old Spirit Board. PRUE (nods "yes") I found it in the basement when I was looking for the circuit tester. Piper flips the Spirit Board over. INSERT: INSCRIPTION ON THE BACK OF THE SPIRIT BOARD: PIPER "To my three beautiful girls. May this give you the light to find the Shadows. The power of three will set you free. Love, Mom." (then, to Prue) We never did figure out what this inscription meant. PRUE We should send it to Phoebe. She's the girl so in the dark, maybe a little "light" will help. PIPER You're really always so hard on her. PRUE She has no vision. No sense of the future. PIPER I really think Phoebe's coming around. PRUE As long as she doesn't come around here, I guess that's good news. Besides we only just moved back into the manor. CLOSE ON PIPER She can save the bad news for later and she will. She sets down the Spirit Board and heads for the kitchen. CLOSE ON SPIRIT BOARD As. Piper continues on into the kitchen a funny thing happens to the "pointer" on the Spirit Board. It "slides" across the board. End of Act 2 'ACT 3' INT. APARTMENT - CRIME SCENE - NIGHT The murdered woman's apartment is now crime scene. Yellow tape and police officers keep looking around, among them, a bathrobe woman trying to convince a police officer to let her out for a minute to walk the dog cradled in her arms. Various activity and commotion will continue in the lobby until we find a harried, but ever professional, INSPECTOR DARRYL MORRIS (30's, smart, family man, African American) . We stay on Morris for moment until his attention is drawn toward the front door of the building. DARRYL Well, it's about time! ANGLE ON: ANDREW (ANDY) TRUDEAU Late 20's, smart, handsome, intense, as he enters the crime scene and approaches his partner. ANDY I got here as soon as I heard. Another dead female, right? Mid-twenties -- DARRYL -- I've been paging you for over an hour, Trudeau. Where've you been? ANDY Oakland, checking out a lead. DARRYL What lead? ANDY One that didn't go anywhere. DARRYL You're avoiding my question. ANDY Because you don't want to know-1 went to an occult shop. DARRYL You hate me, don't you? You want to see me suffer. ANDY I want, to solve these murders. Someone's after witches DARRYL -- Women -- ANDY That "woman" up there? I'll bet she was· killed with an "athame." DARRYL Wrong. A double-edged steel knife. ANDY Right. That's an athame." It's a ceremonial tool. Witches use them to direct energy-- DARRYL This woman didn't direct jack. She was stabbed. Plain and simple. ANDY Was she found near an altar? DARRYL Yes ... ANDY Were there carvings on that altar? DARRYL (yes, but) Just do me a favor. Don't ever follow a lead without checking with me first. ANDY You want to go to occult shops? DARRYL Let's get to work, okay? Darryl leaves. Andy hanqs back as REPORTER JEREMY BURNS (late 20's, sharp minded, liberal) approaches. JEREMY Inspector Trudeau. Jeremy. San Francisco Chronicle. (hands Trudeau a business card) Care to comment? ANDY A woman was stabbed. Plain and simple. JEREMY That's the third one in three weeks. Andy has turned and walked away from Jeremy. INT. MELLISA'S APARTMENT - NIGHT Mellissa is sitting on the couch watching TV, unknown to her, outside the window, we see the same Hooded Man who is only has two visible yellow eyes observing her. Mellissa suddenly hears the phone ring, and she goes to answer. The Yellow Eyed Man sees this, and then leaves. MELLISA (Picks up Phone) Hello. PIPER (Voice on Phone) Mellisa, hope I didn't keep you from something. MELLISA (laughs) No I'm good, whats happening. Did you tell Prue about Phoebe coming back to town soon. CUT TO: INT HALLIWELL MANOR KITCHEN - NIGHT PIPER (On phone) No, I don't know when is the right time to tell her. MELLISA (Voice on phone) Just tell her the truth. You know you girls need to reconnect especially after Grams. PIPER It's not that I dont want to reconnect. Its just, I wish there was a magic potion that could just wipe all the bad blood between us three away and we can go back to be normal. MELLISA (Voice on phone) If only we could do magic. (laughs) PIPER I wish. Anyways, I'll let you go. I'll talk to you tomorrow, keep you updated. MELLISA (Voice on phone) Okay, bye Piper. Piper puts the phone down and then exits the kitchen. INT. HALLIWELL MANOR - FRONT PARLOR - SAME TIME Piper, at the front bay window, watches the cab pull up. She drops the curtain, then anxiously moves toward Prue. Prue sees Piper corning. PRUE I don't get it. I've checked everything. There's no reason the chandelier shouldn't work. PIPER Uh, yeah know how we've been talking about what to do with the spare room? I think you're right. We need a roommate. PRUE We could rent out the room at a reduced rate in exchange for help around the house. PIPER Phoebe's good with a wrench. PRUE Phoebe lives in New York. Didn’t she leave after Grams funeral yesterday? PIPER Not anymore. PRUE What? PIPER She left New York. She's moving back in with us. PRUE You've got to be kidding. PIPER I could hardly say no. It's her house, too. It was willed to all of us. PRUE Days ago. I haven’t spoken to her since the funeral; I barely spoke to her at all, but did out of respect for the funeral. PIPER Well, you haven't spoken to her. PRUE No, I haven't. Maybe you've had a brain surge and forgotten why I'm still mad at her? PIPER Of course not but she had nowhere else to go. She lost her job. She's in debt. PRUE And this is new? How long have you known about this, anyway? PIPER I didn’t want to say anything during the funeral. But it has been a couple of days, maybe a week ... or two. PRUE (or two!) Thanks for sharing. arrive? When does she arrive. PHOEBE (O.S.) Now. Prue and Piper shut up and turn to see: ANGLE ON PHOEBE She is also one hundred eighty degrees away from Prue -- and not by accident. Beside her is a backpack, bursting at the seams. PHOEBE Surprise. (holds UJ? a key) I found the hide-a-key. PIPER Phoebe. PHOEBE Hello Piper. Piper crosses to Phoebe and hugs her. PIPER Welcome home. It is so good to see you, isn't it Prue? PRUE I'm speechless. The tension is broken by the SOUND of a cab, HONKING. PHOEBE Oops. I forgot about the cab. PIPER I'll get it. Piper grabs a purse off the counter and rushes out. PRUE Hey! That's my purse! Prue turns to Phoebe, who tries to suppress a smile. PHOEBE Thanks. I'll pay you back. PRUE (beat; notices backpack) Is that all you brought? PHOEBE It's all I own. That and my bike. I went back to New York after the funeral to get my things sorted. (awkward beat, then) Look, I know you don't want me -- PRUE (blurts out) We're not selling Gram's house. We decided to keep it and move back in. PHOEBE Is that why you think I came back? PRUE The only reason Piper and I gave up our apartment and moved back was because this house has been in this family for generations -- PHOEBE -- No history lesson needed, I grew up here too, so can we talk what's really bothering you? PRUE No I'm still furious with you. PHOEBE You'd rather have a tense reunion filled with boring chit-chat and unimportant small talk. PRUE No, but otherwise we won't have anything to talk about. PHOEBE I never touched Roger. PRUE Whoa. PHOEBE And I know you think otherwise because that's what the Armani-wearing, Chardonnay-slugging, trust-founder told you… (Piper comes back in the house.) PIPER Hey, I got a great idea. Why don't I make a fabulous reunion dinner? PRUE I'm not hungry. They exit in opposite directions. PHOEBE I ate on the bus. (She walks off.) PIPER We'll try the group hug later. Thunder. Lighting. the house lights flickering. INT. PHOEBE'S BEDROOM - NIGHT C.U.: A NEWS REPORT 9A From the crime scene of the murdered woman. The sound is down. We'll FEATURE reporters, articularly Jeremy persistently trying to get information from Morris. We HEAR a KNOCK at the door and Phoebe, getting dressed into her pajama's, walks past the television set. We STAY with Phoebe as she opens her bedroom door to find Piper, dressed in her pajama's. She's holding a wicker tray. On it are some finger sandwiches, two glasses of iced-tea, and some carrot sticks., PHOEBE Thank God, I'm starving! PIPER I figured. (enters, notices Jeremy on TV) Hey, that's Jeremy! What's happened? PHOEBE Oh, some woman got whacked. PIPER "Whacked?" Phoebe, you've been in New York too long. Piper shuts off the television and makes herself comfortable on Phoebe's bed. The two sisters eat, talk. PHOEBE I should have stayed. Why didn't you tell Prue I was coming home? PIPER And risk her changing the locks? I don't think so. Besides, should have been the one to tell her, not me. PHOEBE (flops on bed beside Piper) Good point ... Chicken Little. It's just so hard to talk to her. She's always been more like a mother: PIPER That's not her fault. She practically sacrificed.... Phoebe's heard this a million times. She joins in as Piper finishes her thought: PIPER/PHOEBE "her own childhood to help raise us." PHOEBE Yeah yeah yeah. PIPER Hey, we're lucky she was so responsible. You and I had it easy. All we had to do was "be there." PHOEBE Yeah, well, I don't need a mom, anymore. I need a sister. PRUE (O.S) Knock knock. They look up to see Prue, standing in the door frame. Dressed in her pajamas, she holds a down comforter and an extra blanket. Prue leaves. PRUE (cont.'d) This was always the coldest room in the house. PHOEBE Thanks. PRUE No problem. CUT TO: INT. UNKNOWN APARTMENT - NIGHT YELLOW EYED MAN is standing near a table with various photos of the Halliwell sisters, we then see other photos of Grams, Patty and three other unknown people presumably other relatives of the family. The photo of Penny Halliwell has a red cross on it, with a note, the powers of the charmed ones will be returned on a full moon. CUT TO: INT. APARTMENT/CRIME SCENE - NIGHT The woman's body, wrapped in a body bag, is on a gurney. Daryl stares at a small tattoo on the shoulder of the woman. It is the same exotic insignia that is on the Book of Shadows that we saw in the attic that Grams used before she died. ANDY It's the same tattoo that was on the other three victims. DARYL So the murderer is killing cultists. ANDY No, the murderer is on a "witch hunt." DARYL Yeah, and he's five hundred years old and lives in Salem. The CORONER zips up the rest of the body bag. Daryl and Andy follow the gurney, pushed by the Coroner. DARYL Look around, Trudeau. Pentagrams, altars, offerings. All tools for a freak fest. ANDY They call 'em "sabbats," and this was hardly a freak fest. She was a solitary practitioner. She practiced her craft alone. Daryl sighs, frustrated. ANDY(cont'd) Let me ask you something, Morris. Do you believe in U.F.O.'s? DARYL Hell no. ANDY Neither do I. But do you believe there are people out there who believe in U.F.O's? DARYL Yes, but I think they're crazy. ANDY Well, then, why can't you believe there are people who believe they are witches? (Daryl considers this rationale.) All I know is that if don't stop talking about "witches, gonna start questioning you. We HEAR a MEOW. It's a cat. The victim's cat. Andy bends down toward it. DARYL (cont'd) I'd stay away from that cat, Trudeau. It's been clawing the crap out of everybody. See you at the car. Daryl heads out. Andy waits a beat, and then bends down to pet the cat. Daryl, at the door, turns around to say something, then stops. He can't believe what he's seeing. That cat loves his partner. CUT TO: INT. CONSERVATORY - NIGHT Candles illuminate Piper and Phoebe playing with the Spirit Board. They have their hands on the wooden pointer which slides around the board. A bowl of popcorn, almost gone, rests on the table. PHOEBE I'm glad to hear you and Jeremy are still together. Where'd you meet him, anyway? PIPER We met in the hospital cafeteria the day Grams was admitted. He was covering a story. I was bawling . over a bagel. He gave me a napkin. PHOEBE (yuck) How romantic. PIPER As a matter of fact, it was. The napkin had his phone number on it. Now stop pushing the pointer. PHOEBE I'm not touching it. PIPER You used to always push the pointer. More popcorn? Phoebe nods. Piper gets up and moves to the kitchen. PHOEBE I forget your question. PIPER (calls from kitchen) I asked if Prue would have sex with someone other than herself this year! PHOEBE (calls to kitchen) That's disgusting! (looks down at board) Please say "yes." Phoebe's fingers, resting on the wooden pointer, suddenly slide across the Spirit Board, landing on the letter "A." PHOEBE Piper ... · The Spirit Board pointer slides across to the letter "T." PHOEBE (CONT'D) Piper, get in here! Phoebe yanks her fingers off and away from the pointer. PIPER (peeks head back in door) What? Prue comes in through the other end of the dining room. PRUE What did you two do now? PIPER Me? I didn't do anything. They turn to Phoebe. She's freaking out. PHOEBE The pointer on the Spirit Board. It moved on its own. Prue and Piper burst out laughing. PHOEBE (CONT'D) I'm serious. It spelled "A-T." Prue and Piper stare at the Spirit Board. Nothing happens. PIPER Did you push it? PHOEBE No! PRUE You used to always push the pointer. PHOEBE My fingers were barely touching it. Look! Phoebe lightly places her hand on the pointer. Nothing happens. Prue shoots a look, turns to leave when the pointer with Phoebe's fingers resting lightly.on it slides from the letter "T" to the side of the board and then quickly back to the letter "T." PHOEBE It did it again! It moved! Piper and Prue turn around. PRUE It's still on the letter PHOEBE I swear, it moved! "T." Prue leaves. The pointer suddenly begins to move again. PHOEBE There! Look! Piper's looking. Phoebe takes her fingers OFF the pointer. It CONTINUES TO MOVE, landing on the letter "I." . PHOEBE You saw that, right? PIPER I' think so, yeah. PHOEBE I told you 1 wasn't touching it. The pointer moves aqain. Piper tries not to freak. PIPER Prue, can you come here a sec? PHOEBE (following the letters) I think it's trying to tell us something. Phoebe finds a pen. Grabs a stack of nearby mail and flips over an envelope. Phoebe jots down the letters. At the same moment that Prue returns to the dining room, the pointer lands on the letter C-W. PRUE Now what? PHOEBE (holds up paper) ATTIC. Thunder. Lightning. The lights go out and the house is pitched into darkness. End of Act 3 'ACT 4' INT. FOYER - NIGHT Piper grabs her rain coat off the coat rack and begins to put them on. Prue, holding a flashlight, follows Piper. PRUE Don't you think you're overreacting? We're perfectly safe here. PIPER Don't say that. In horror movies, the person who says that is always the next to die. PRUE It's pouring rain. A psycho's on the loose. PIPER So I'll wait in the cab until Jeremy gets back from work. PRUE That'll be cheap. Piper grabs the portable telephone and dials 411. PIPER I saw that pointer move, Prue. PRUE What you saw was Phoebe's fingers pushing the pointer. She's playing a joke on us. There's nothing in that attic. PIPER We don't know that. We've lived here for months now and we've never been able to get the attic door open. (beat, frustrated) Great. The phone doesn't work. PRUE And the power's out. Come with me to the basement. PIPER What? PRUE I need you to hold the flashlight while I check out the main circuit box. Phoebe enters the foyer, carrying her own flashlight. PIPER Phoebe will go to the basement with you. Won't you, Phoebe? PHOEBE No, I'm going to the attic. PRUE You are not. We already agreed - PHOEBE -- I'm not going to wait for some handyman to check out the attic and I'm certainly not voing to wait until tomorrow. I'm going up there. She mounts the stairs as Prue, pissed, takes off in the opposite direction, toward the basement. Piper is now alone in the foyer. She thinks a moment, then calls out to Prue. PIPER Prue, wait! 26. INT. STAIRWAY TO ATTIC - NIGHT Phoebe's flashlight illuminates the closed attic door. She slowly reaches out, grabs the door handle, turns it. The door won't open. She pulls at the handle, jimmies the door and it still won't open. She turns around to leave when we HEAR the SOUND of the door creaking open behind her. She turns to see the attic door has swung open. 27. INT. ATTIC - NIGHT The attic is a big space, with large glass window panes and a peaked roof. Antiques are covered and against the walls. As Phoebe glances around, a SUDOEN FLASH of LIGHTNING draws her attention to an old wooden trunk in front of a large stained-glass window. She moves to the trunk, opens it CREAK and peers inside. AN ANCIENT, ANTIQUE GREEN COVERED BOOK Rests at the bottom of the trunk in a thick pile of dust. This is the same book we saw Grams using just before she died. Phoebe reaches in, takes out the book. She blows on the cover dust flies. She reads the title-. PHOEBE "The Book of Shadows." Phoebe opens the front cover to see a centuries old wood-carving of a coven of three women gathered around a circle, casting spells. And, on the first page, an elaborately scrolled incantation. Phoebe looks at it. 28. STAIRWELL ENTRY - SAME TIME Prue and Piper are at the bottom of the stairs. PRUE Phoebe! (no response) She should be back by now. PIPER You go first. They climb the stairs. 29. INT. ATTIC - NIGHT Phoebe's reading an incantation aloud. PHOEBE "Hear now the words of the witches The secrets we hid in the night." Thunder. Lightning. Phoebe shrinks back, scared, then gathers her confidence as she continues. PHOEBE "The oldest of Gods are invoked here. The great work of Magic is sought." 30. INT. MIDDLE PARLOR - SAME TIME As Phoebe continues to invoke the incantation, we SLOWLY MOVE IN on the crystal chandelier. PHOEBE "In this night and in this hour, I call upon the Ancient Power." The crystals on the chandelier begin to vibrate. ·"Light not from the light bulbs but from an unknown light source, emanates in all directions. PHOEBE (O.S.) "Bring us the power to we three! We want the power! the power!" sisters Give us the power. The light shines on the wall and mantels, on generations of portraits and photograph that feature the female relatives of the Halliwell sisters. The light bounces from photograph to photograph, settling on a picture of Prue, Piper and Phoebe. The photo glows with luminescence and the sisters, who are standing apart, seem to move closer together. 31. EXT. HALLIWELL MANOR - NIGHT The white light shines outward from a window, casting a mystical, ethereal glow into the night. 32. INT. HALLIWELL MANOR - NIGHT In the photograph of the three sisters, we see we have not lost our minds: the sisters have definitely moved closer together. 33. INT. ATTIC - NIGHT Prue and Piper, flashlights in hand, approach. PRUE What the hell are you doing? PHOEBE (busted/confessing) ... Reading ... an ... incantation. (holds up book) It was in this "Book of Shadows." I found it in that trunk. PRUE Let me see that. Prue grabs the book as Piper, worried, turns to Phoebe. PIPER How did you get in here? PHOEBE The door ... opened. Piper's not quite sure how to take this. PIPER Wait a minute. An incantation? What kind of "incantation?" PHOEBE It said something about there being three essentials of magic: feeling, timing, and the phases of the moon. If we were ever going to do this, now -- midnight on a full moon - was the most powerful time. PIPER This?" Do what "this?" PHOEBE Receive our powers. PIPER What powers? Wait. "Our" powers? You included me in this? PRUE She included all of us. (reading incantation) "Bring us the power to we sisters three." (holds up book) It's a book of witchcraft. PIPER Let me see that. Prue hands Piper the book. On the front cover is a strange and exotic insignia. It is the Triquetra, the ancient symbol of the female trinity. 36. INT. FOYER - NIGHT The sisters, guided by the flashlight, head down the stairs. PRUE Spirit Boards. Books of witchcraft. It figures all of this freaky stuff started when you arrived. PHOEBE Hey, I wasn't the one that found the Spirit Board. PRUE But it wasn't your fingers sliding around on the pointer. PIPER , It doesn't matter. Because nothing happened, right, Phoebe? When you did the incantation? PHOEBE My head spun around and I vomited split pea soup. How should I know? The sisters enter the middle parlor. PIPER Everything looks the same. PHOEBE (disappointed) You're right. PRUE Yep, the house still needs work. PIPER And everything feels the same. Prue and Phoebe head for the dining room. Piper calls out. PIPER So nothing's changed. Right? They don't notice the changed photograph behind them. 37. EXT. HALLIWELL MANOR - NIGHT A HOODED MAN (Could be the same YELLOW EYED MAN from before or his accomplice) enters FRAME and watches as the three sisters put the Spirit Board away. He watches a moment, then turns and leaves. INT. PHOEBE'S ROOM - SAME NIGHT Phoebe lays in her bed that night, trying to sleep and tossing and turning. PHOEBE I'll read more tomorrow, I gotta get some sleep, its been a crazy day. Who am I kidding, I must know more. Phoebe rushes the covers off and gets out of bed. She grabs the flashlight off her nightstand and flicks it on. 39. INT. ATTIC - NIGHT Phoebe enters the attic and glances around cautiously as she enters the room. PHOEBE Everything seems normal, no strange chills, no gusting winds. No lights flicking. Phoebe crosses over to a dusty table where the book of shadows lays. She gently picks up the book and sits down on an old armchair to read. PHOEBE There's something to this. There has to be a reason why I found this book on this very night, I so happen to come back to live with my sisters. I'm going to prove to Piper and Phoebe I'm not a flake. Phoebe turns the pages of the book of shadows until she stumbles upon a page titled "The Trail of Melinda Warren". PHOEBE Interesting. (reading the entry in the book) Melinda Warren was the first member of the family to come to America, from England to Massachusetts in the 1600s. Phoebe's heart begins to race with excitement as she reads. She cant stop reading more. PHOEBE (CONT) Melinda Warren possessed three special powers: the first telekinesis, the second the ability to see the future and the third to stop time. Melinda powers were eventually discovered when her lover betrayed her to the townspeople and she was found guilty of witchcraft and burnt at the stake. I can’t stop reading now. INT. ANDYS APARTMENT – BEDROOM – SAME NIGHT Andy enters his apartment, is getting ready for bed, he opens up a drawer in the bedside table to reveal a photo of Prue. He gazes at it, and closes it. INT. ATTIC - NIGHT Phoebe is still reading the book of shadows, and finally closes the book. PHOEBE Are we the sisters in this book? Are we the Charmed Ones? No it cant be, that would mean we are witches. Suddenly, a warm breeze blew through the room, and notices the faint scent of burning wood in the air. Phoebe's heart pounded hard in her chest. The pages of the Book of Shadows begins to turn repeatedly as the breeze grew stronger. PHOEBE Maybe the spirit board did this. Maybe this book of shadows is evil too. Phoebe continues to panic, when suddenly a bright light flashes out of nowhere. Phoebe puts her hands over her eyes, trying not to look at what was happening. The light fades. PHOEBE What's happening. In the center of the room, a figure begins to emerge and becomes a woman. It floats closer and closer to Phoebe, its face is not visible. UNKNOWN WOMAN You called to me, you called for your powers. PHOEBE This isn't real. This isn't real. Please let this not be real. Phoebe struggles to stand up as the floated woman's face finally is visible, and its revealed to be Melinda Warren. MELINDA You called to me, you called out for your powers. The sisters three are the most powerful witches the world has ever known for many centuries. You are the Charmed Ones. PHOEBE Who are you? MELINDA I am Melinda Warren. You and your sisters are the Charmed Ones. PHOEBE Are you really here, are you a ghost? MELINDA The sisters three are filled with the power of good. The power of good magic. Your magic may be weak at first, but you will develop quickly. Remember this, It is important that the three of you work together. Its the power of three that makes you the Charmed Ones. Phoebe stared silently at the apparent ghost of Melinda. PHOEBE This can't be real. Phoebe closes her eyes still in disbelief. MELINDA Do you understand? Answer Me. PHOEBE (opens her eyes) Yes, I understand. MELINDA Good. Now a warning. You must be wary of evil Warlocks. The warlocks will come, and they will strike. They will kill several witches. Stop them, stop the warlocks. PHOEBE But How? Please help me! How do we fight a warlock? MELINDA This is your destiny and the destiny of your sisters. The sisters three can not escape it. You are the protectors of the innocent. An icy breeze blew through the attic, and Melinda Warren began to slowly fade away. PHOEBE Wait! I don't know what to do, how do I use my powers. MELINDA The power of free will set you free. The power of free will set you free. Melinda grew fainter and fainter, until she disappears in nothingness. Phoebe sits back down on the armchair and stares at the book of shadows in her lap. PHOEBE Could all of this really be true. Are we really witches. How am I going to tell Piper and Prue about this. End of Act 4 END OF EPISODE AND PART 1